TO PLAY THE KING
TIM PIGOTT-SMITH STARS IN A ONE-OFF ‘FUTURE HISTORY’ DRAMA…
As the popularity of The Crown on Netflix has demonstrated, the subject of the Royal Family is one that viewers seem to find endlessly fascinating. But where that series looked to the past, this one-off drama from Doctor Foster writer Mike Bartlett – adapted from his stage play – is a possible version of the future.
In King Charles III, Prince Charles ascends to the throne after the death of Queen Elizabeth II, having spent an entire lifetime in waiting. However, once he’s finally on the throne, Charles finds himself struggling with the responsibility of signing a controversial bill into law. Tim Pigott-smith, who sadly died last month, reprises the role of Charles that he originally played on the stage.
“I was concerned about whether the soliloquies would be intact, as they were very important in the play and Charles had several,” revealed the actor. “I also wondered if the humour would come across on television. But Mike has done a really good job of moving it from being a Shakespearean-style history play to a modern film, while still keeping the incredible verse and language. I think we’ve captured the essence of what we did on stage.”
Playing such a recognisable person was not without its challenges, although Tim felt there were also advantages to acting the role of someone who has spent his entire lifetime in the public eye.
“I’ve played quite a few real people and it carries a special responsibility,” shared Tim. “Someone asked me if I’d done a lot of research, but I haven’t had to, as Charles and I have grown up in parallel, and I’ve watched him go through various phases of his life.
“When I was offered the part, I was working with a friend who did voices for
Spitting Image,” continues the actor. “I asked how he would do Charles, and he said that Charles fiddles with his signet ring and his cuffs, and that he pulls his mouth down to the side when he’s talking and doesn’t really open his mouth. Watching a video of him,
I also discovered that he does this thing with his hands outside his pockets, they hover outside but they never go in, which is wonderfully indecisive and suits the character as written in the play. We didn’t want to do imitations, however just occasionally there’s a suggestion of the real man.”
The drama goes on to explore a potential rift within the Royal Family, as William and Kate air their concerns about how Charles’ actions will affect their future, while an unsettled Harry looks outside the family for solace. Tim believed, however, that the portrait painted of the royals is ultimately a sympathetic one.
“It’s a very clever story, and it’s funny, but not at the royals’ expense,” he pointed out.
“It’s proper drama. We’re very lucky to live in a country where we can make this show, and that’s a great responsibility. The royals live their lives in public, but we still have to treat them with integrity, and I think and hope we’ve been very careful to do that.”
IT’S CLEVER AND FUNNY, BUT NOT AT THE ROYALS’ EXPENSE” TIM